News

Millie Bobby Brown Gushes Over ‘Partner for Life’ Jake Bongiovi

Millie Bobby Brown is celebrating the good things in her life as she enters 2023.

The Stranger Things star took to Instagram to give fans a series of snapshots from the past year and in many of the photos, she’s seen cuddling with her boyfriend Jake Bongiovi, the 20-year-old son of Jon Bon Jovi.

“Endlessly in love with the year I’ve had! Grateful for my friends, family, donkey (bernard), my doggies, my puppies teeth, and my partner for life,” the 18-year-old actress wrote of her boyfriend. “Here’s to another year with you and the wonderful people and animals around us. Let’s do it again but better!”

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

In response, Bongiovi left the sweetest comment on Brown’s post: “Your year babe love you so much.”

The loved-up duo were first romantically linked in the summer of 2021, when they were photographed holding hands in New York City. The couple went on to make their red carpet debut at the 2022 BAFTA Awards in March. Since then, Brown and Bongiovi have shared a number of adorable photos together on Instagram and have walked a number of red carpets, including for the Stranger Things season four premiere and the Enola Holmes 2 premiere.

Kelly Clarkson Channels Duran Duran for Anything But ‘Ordinary’ Kellyoke Cover

Kelly Clarkson opened the Friday (Jan. 6) episode of her talk show with a cover of Duran Duran‘s “Ordinary World.”

Wearing a simple black dress and matching tights, the host extraordinaire sang, “Came in from a rainy Thursday on the avenue/ Thought I heard you talking softly/ I turned on the lights, the TV, and the radio/ Still I can’t escape the ghost of you/ What has happened to it all?/ Crazy, some’d say/ Where is the life that I recognize?/ Gone away” before launching into the track’s high-flying chorus.

Originally released as the lead single from 1993’s Duran Duran (The Wedding Album), the soft rock ballad shot to No. 1 on the Pop Airplay chart and also landed at No. 3 on the Billboard Hot 100, becoming the band’s biggest hit since their 1985 James Bond theme “A View to a Kill.”

Coincidentally, fellow American Idol alum Adam Lambert also recently unveiled his rendition of “Ordinary World,” from his upcoming album of covers, High Drama, set for release this February.

During the show, Clarkson also welcomed Alison Williams to discuss her leading role in the new Blumhouse Productions horror flick M3GAN and introduced her audience to Bob Hearts Abishola star Folake Olowofoyeku’s very first music video for the song “Ehen Ehen Okay Okay.”

Other recent “Kellyoke” covers picked by Clarkson to kick off the new year include Ronnie Milsap’s “Lost in the Fifties Tonight,” Blake Shelton’s “Honey Bee” and Katy Perry’s “The One That Got Away.”

Watch Clarkson power through Duran Duran’s ’90s-era soft rock hit below.

Abraham Mateo, Mike Bahía & More: What’s Your Favorite New Latin Music Release? Vote!

This week, our First Stream Latin roundup — which is a compilation of the best new Latin songs, albums, and videos recommended by the Billboard Latin editors each week — is powered by new music from Abraham Mateo, Mike Bahía and Alejandro Fernández, to name a few.

Explore

See latest videos, charts and news

See latest videos, charts and news

The list includes Abraham Mateo’s “La Idea,” an upbeat punk rock song with heart-rending lyrics about a guy who can’t fathom the fact that he’s no longer dating the girl of his dreams. “Because the idea was not never separate/ The idea was that you’d be the mother of my kids/ Because the idea was for you and me to be a team/ And now this love is done, and even though that was not the idea/ I know it’s better this way,” he passionately belts.

You can also find Bahía’s new track “De Qué Manera,” where he steps into a new musical genre: salsa. Written and produced by the Colombian artist alongside Keityn and La Créme team, the track pays tribute to the tropical style that Bahía grew up listening to in his hometown, Cali, Colombia. “Many people think that I’m from some other city in Colombia, but I come from Cali — the salsa capital of the world, where salsa is lived and breathed everywhere you go,” he expresses in a statement.

Additionally, Fernández dropped “Inexperto En Olvidarte,” the first single off his forthcoming album due this year. The song is a signature Alejandro Fernández heartbreak ballad powered by a mariachi and an accordion. Also in the poll are new releases by Yahritza y Su Esencia and Ovy on the Drums and Ozuna‘s new collaboration”CHAO BEBE,” a reggaeton track fused with electronica.

What’s your favorite new Latin music release this week? Vote below!

Jelly Roll Tops Country Airplay Chart: ‘There Is No Greater Reward Than to Have the No. 1 Song on Country Radio’

Jelly Roll (aka Jason DeFord) achieves his first No. 1 on Billboard‘s Country Airplay chart (dated Jan. 14) with his first entry, “Son of a Sinner.”

In the tracking week ending Jan. 5, the song, released on Bailee & Buddy/BMG/Stoney Creek, increased by 18% to 26.4 million audience impressions, according to Luminate.

“There is no greater reward for a singer and songwriter in Nashville, Tenn., than to have the No. 1 song on country radio,” Jelly Roll, 38, says. “Now imagine that happening to a guy that grew up in this town … a guy that at every turn for the first 25 years of his life made the wrong decision. Imagine everyone telling that guy he had no chance at country radio. If you can imagine that, then you can understand why I’m so filled with gratitude as tears stream down my face while I type this … I currently have the No. 1 song on country radio. Thank you to Jon Loba [president BBR Music Group/BMG Nashville], BMG and every single person that helped make this dream come true.”

Jelly Roll, who grew up in the Nashville suburb of Antioch, co-authored “Sinner” with Ernest K. Smith and David Ray Stevens. It’s from his 2021 album Ballads of the Broken.

While “Sinner” is Jelly Roll’s launch Country Airplay appearance, he’s had success in other genres. Last May, “Dead Man Walking” led Mainstream Rock Airplay for a week. His highest charting set on Top R&B/Hip-Hop Albums, No Filter, with Lil Wyte, reached No. 33 in 2013.

As “Sinner” reaches the Country Airplay pinnacle, it dethrones Morgan Wallen’s “You Proof,” which rang up a record 10 nonconsecutive frames at No. 1. “Proof” declines 1-2 on the Jan. 14 dated list (25.6 million, up 12%).

Also, before “Sinner,” the last rookie entry to lead Country Airplay was Bailey Zimmerman’s “Fall in Love” (Dec. 7).

Lizzo Slams Body Shamers: ‘I Wish That Comments Costed Y’all Money’

Lizzo has no time for the comments on people’s bodies — especially her own.

The “About Damn Time” superstar took to TikTok on Friday (Jan. 6) to share a video, in which she’s seen glowing in a bikini and a high ponytail. “The discourse around bodies is officially tired,” she shouts at the camera. “I’ve seen comments go from, ‘Oh my gosh, I liked you when you were thick. Why did you lose weight?’ ‘Oh my gosh, why did you get a BBL? I liked your body before.’ ‘Oh my gosh, you’re so big. You need to lose weight but for your health’ to ‘Oh my gosh, you’re so little. You need to get a– or titties or something.’ ‘Oh my gosh, why did she get all that work done? It’s too much work.’”

She continued, “Are we OK? Do you see the delusion? Do you realize that artists are not here to fit into your beauty standards? Artists are here to make art. And this body is art. I’mma do whatever I want with this body. I wish that comments costed y’all money so we could see how much time we are f—ing wasting on the wrong thing. Can we leave that s— back there please?”

Lizzo has been a longtime advocate for body positivity and self love. However, in a Vanity Fair cover story back in October, the Grammy winner revealed just how hurtful some of the racist and fatphobic comments she receives on a daily basis can be.

“I lead a very healthy lifestyle — mentally, spiritually, I try to keep everything I put in my body super clean,” she continued. “Health is something I prioritize, wherever that leads me physically. Like veganism, people were like, ‘You’re a vegan? What, are you deep frying the lettuce?’ I’m not a vegan to lose weight, I just feel better when I eat plants.”

“It sucks that we associate weight gain with the negative thing that causes it,” she added. “It’s mixing this beautiful thing that’s food — and nourishing ourselves with it, but it’s the stress that’s the bad thing, not the 20 pounds.

“I feel very lucky because I don’t feel that weight gain is bad anymore. Nor is weight loss — it’s neutral.”

As New Threats Arise, The Music Community Must Continue Standing Together in 2023 (Guest Column)

Lincoln said, “A house divided against itself cannot stand.” It was true then and it’s true today — on great issues like politics and governance and, closer to home, for America’s music community.

We know the costs of division and mistrust. During the Napster era, we lost nearly half the revenue from recorded music. Working together over the last 10 years, we’ve built a robust and thriving streaming economy well on its way to recovering what was lost. But we still have a long way to go.

From powerful platforms that undervalue music to short-sighted attacks on creators’ rights around the world to abuses of new technologies that attack the very idea of human authorship — it’s more important than ever that we unite to face new challenges in 2023 and beyond.

And we know how to do it.

In recent years, the music industry has joined together over and over again to accomplish great things and move music forward.

In 2018, we enacted “once-in-a-generation” Music Modernization Act legislation here in the U.S. to update streaming rights for songwriters and ensure legacy artists are finally paid. We are now working together to protect artists’ free expression through bills like California’s Decriminalizing Artistic Expression Act and the federal RAP Act.

In 2021, we saw a landmark Copyright Directive in the European Union to strengthen music markets and fair pay for artists on all platforms.

Earlier this year, all three major record labels decided to voluntarily disregard unrecouped balances owed by certain legacy performers ensuring these great artists could immediately share in streaming royalties.

And of course, we supported one another through a devastating pandemic, working to sustain small venues and develop public policies and relief programs to reach working artists and songwriters.

Those were all major steps, but new challenges keep coming — including some designed to stoke division and turn our community against itself. Fortunately, we know from our many recent achievements that the music community — and music itself — does best when we stick together in the face of common challenges. Especially at a time when American music is already thriving — across formats, styles, and all around the world with competition, creativity and choice all stronger than ever.

Artists continued to find new ways to reach more fans than ever with do-it-yourself recording and distribution, while independent labels have become the fastest-growing sector of the market. In a shrinking online world where language and geography are no longer barriers, an artist’s potential audience has become almost limitless.

In this dynamic new music business, success is more broadly shared than ever, with growing opportunities and revenues for indie artists and the very top acts taking a smaller share of revenues today than during the CD era. Globally, out of a $10 per month streaming subscription, artists receive roughly $1.35 while labels net $0.55 once the cost of spending to drive artists’ success is accounted for. Meanwhile, the share of revenues going to publishers and songwriters has nearly doubled in the streaming era. 

It’s a powerful testament to what all of us who make up the music community have built together.

It is success borne first from the blood, sweat and tears of America’s creators — artists, songwriters, session players and the legions of those who support and distribute music — producers, publishers, road crews and venue operators, tour support, managers, digital services and more.

It is also the product of round-the-clock drive and commitment by the people working at record labels– music lovers who wake up every day fighting for the artists they work with and helping them achieve their creative dreams and commercial goals. From marketing and promotion to brand and design to social media campaigns to wellness and health to business and back office services, labels today do more than ever to support artists and position them to break new ground and thrive.

The labels that make up the RIAA are committed to a future of continued shared growth. We are determined to keep pushing for even more positive change. And we will work every day in this new year to unite our music community with forward-looking policies and goals that benefit artists, songwriters and fans as well as rightsholders and music services.

That means standing together and ensuring creators get full value for their work on every platform, service, game, fitness app and anywhere else it is used — from AM/FM radio to the metaverse. It also means building on shared commitments to diversity, wellness, and equality — both inside and outside the recording studio and across our entire community.

Additionally, it means presenting a united front when tackling the next generation of challenges, including artificial intelligence, where artists, songwriters, labels and publishers have an immense and shared interest in establishing responsible rules of the road that value human authorship and creativity. Also important is fighting against new forms of music piracy and other efforts to undermine the creative economy, from stream ripping to stream manipulation to pre-release leaks that suck the economic value out of the most seminal times in an artist’s career.

All of us who make up this community are bound together by a shared love of music — and a shared commitment to the people who create, distribute, and listen to it.

In 2023, let’s work — together — to turn those values into concrete action that builds a rich and lasting music future for us all.

Mitch Glazier is the Chairman and CEO of the Recording Industry Association of America (RIAA), the trade organization that supports and promotes the creative and financial vitality of the recorded major music companies.

YoungBoy Never Broke Again Ties E-40 for Third Most Top 10s on Rap Albums Chart

The prolific YoungBoy Never Broke Again already captures his first top 10 album of 2023 as Lost Files debuts at No. 7 on Billboard’s Top Rap Albums chart dated Jan. 7, 2023. The set’s entrance gives him a seventh straight calendar year with at least one top 10 project and comes on the heels of having logged six top 10 entries in 2022 alone.

Lost Files, released on Dec. 23 through NeverBrokeAgain/Atlantic Records, starts with 17,000 equivalent album units earned in the week ending Dec. 29, according to Luminate. Ninety-eight percent of the album’s units came from streaming — equaling 24.9 million official U.S. on-demand streams of the album’s songs. The remaining balance derived from negligible amounts of both album sales and track-equivalent units. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)

With Lost Files, YoungBoy Never Broke Again acquires his 18th top 10 on the Top Rap Albums chart. His latest visit to the top tier moves him into a tie with E-40 for third place for the most top 10s on the chart since its 2004 launch. The pair trail only overall leader Gucci Mane (25) and Tech N9ne (19) in second place.

Here’s a recap of YoungBoy Never Broke Again’s top 10 collection:

Album Title, Peak Position, Peak Date

  • Fed Baby’s, with Moneybagg Yo, No. 7, Dec. 9, 2017
  • Until Death Call My Name, No. 4, May 12, 2018
  • 4Respect 4Freedom 4Loyalty 4WhatImportant, No. 9, Sept. 29, 2018
  • Realer, No. 9, Jan. 5, 2019
  • AI Youngboy 2, No. 1 (one week), Oct. 26, 2019
  • Still Flexin, Still Steppin, No. 1 (one week), March 7, 2020
  • 38 Baby 2, No. 1 (one week), May 9, 2020
  • Top, No. 1 (one week), Sept. 26, 2020
  • Until I Return, No. 5, Nov. 28, 2020
  • Sincerely, Kentrell, No. 1 (one week), Oct. 9, 2021
  • From the Bayou, with Birdman, No. 4, Dec. 25, 2021
  • Colors, No. 1 (one week), Feb. 5, 2022
  • Better Than You, with DaBaby, No. 5, March 19, 2022
  • The Last Slimeto, No. 1 (one week), Aug. 20, 2022
  • Realer 2, No. 2, Sept. 24, 2022
  • 3800 Degrees, No. 4, Oct. 22, 2022
  • Ma’ I Got A Family (A Gangsta Grillz Special Edition Hosted by DJ Drama), No. 2, Nov. 5, 2022
  • Lost Files, No. 7, Jan. 7, 2023

Elsewhere, Lost Files debuts at No. 16 on the Top R&B/Hip-Hop Albums chart and at No. 45 on the all-genre Billboard 200.

YoungBoy’s count will very likely increase in just a matter of days. His new album, I Rest My Case, was released Friday, Jan. 6, and marks his first effort with the Motown record label after more than five years on the Atlantic Records roster.

YoungBoy Never Broke Again, Popcaan x Drake & More: What’s You Favorite Release of the Week? Vote!

It’s the first New Music Friday of 2023, and a batch of new music spanning hip-hop, country, dance and more. But which of the new year’s release is your favorite?

YoungBoy Never Broke Again isn’t using 2023 as an opportunity to rest. The rapper kept himself incredibly busy last year and dropped a whopping four mixtapes, one album and a compilation album, most of which reached the top 10 of the Billboard 200, and he’s coming back for more with the release of I Rest My Case. The Baton Rouge native continues to get more ferocious in his lyrics, as seen in tracks “Black,” “Louie V” and “Swag on Point,” but also offers up vulnerability and narration on the song “Hey Pops.”

Popcaan is also starting off the new year strong with “We Caa Done.” Drake puts on his best accent for an assist on the track, as Popcaan offers up classic Jamaican braggadocio (“Yeah, short but mi heavy/ Chain ’round mi neck can buy a couple Chevy/ Hmm, jiggle up yuh body fi mi baby”) that further cements him as a heavyweight in dancehall and reggae.

Country icon Shania Twain is also offering up a new song with “Giddy Up!,” the lead single from her forthcoming album Queen of Me. Like many classic Twain songs, this new one has the capacity to get the party started with fun call-and-response moments, and lyrics perfect for leaving all your troubles at the door.

Skrillex, Yahritza Y Su Esencia and Ice Spice also return with fresh music to spin, but which new release is your favorite this week? Vote in our poll below.

Jason Isbell Performs ‘Run, Baby, Run’ During ‘Austin City Limits Hall of Fame’ Special Honoring Sheryl Crow: Watch

Austin City Limits will celebrate singer-songwriter Sheryl Crow with the special installment Austin City Limits 8th Annual Hall of Fame Honors Sheryl Crow, airing on Saturday (Jan. 7).

Explore

See latest videos, charts and news

See latest videos, charts and news

The special features Jason Isbell performing a special rendition of “Run, Baby, Run,” the opening song from Crow’s 1993 debut album Tuesday Night Music Club. Isbell and Crow previously collaborated on Yola’s single “Hold On” in 2020, with Crow contributing piano and Isbell playing guitar.

Among the others feting the nine-time Grammy winner are a host of Americana and country luminaries, including Brandi Carlile, Brittney Spencer and Jess Wolfe (from Lucius). Carlile will perform “If It Makes You Happy” (from Crow’s 1996 eponymous project), while Spencer will offer a rendition of “My Favorite Mistake” (from 1998’s The Globe Sessions). Crow will also perform, joining Wolfe for “Strong Enough” and Carlile for “Everyday is a Winding Road,” before an all-star finale performance of “I Shall Believe.”

The hour-long broadcast will open with highlights from Crow’s 1997 debut performance on Austin City Limits. Carlile will induct Crow into the ACL Hall of Fame with a speech highlighting Crow’s career, artistry and humanity.

Another special companion Hall of Fame hour will honor fellow Austin City Limits Hall of Fame inductee Joe Ely and will close out ACL season 48 on Feb. 25. Austin City Limits, recorded live at ACL’s home studio in Austin, Texas, is the longest-running music television show in history.

The episode will begin at 8 p.m. ET on CBS, and will be available to stream online beginning Jan. 8 at 10 a.m. ET at pbs.org/austincitylimits.

Watch an exclusive performance clip from Isbell honoring Crow in the video above.